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This article analyses Italian illustrated editions of Little Women published between 1908 and 1945. After an overview of the publishing history of the novel in Italy, the paper will examine Italian illustrations as hermeneutic tools in order to examine their ideological function in the representation of gender. The belated reception of Alcott's novel in Italy, caused by its representation of a nonconformist educational model for girls, is mirrored in the tension between the nationalistic drive and the influence of foreign models that can be pinpointed in the illustrated editions. By analyzing adaptations of American illustrations, original Italian creations, and omissions of iconic illustrations, this paper will unveil how much the visual element is embedded in the Italian historical and cultural context, as the choice (or omission) of particular images impacted the interpretation of the book. By examining the Italian editions of Little Women published in this time frame, we will also be able to retrace the links with the American illustrated history of the book and bear testimony to the powerful impact of the 1934 film version on printed editions. [ABSTRACT FROM AUTHOR]

Information on several papers discussed at the 2010 American Association for Italian Studies (AAIS) Conference held at the University of Michigan in Ann Arbor on April 22-25, 2010 is presented. Topics include Italian cinema genre, Italian literature and the cinema discipline within the field of Italian studies. The conference featured several notable individuals including Anna Paparcone, Maria Teresa Maenza, and Elena Past.

Information about the American Association for Italian Studies (AAIS) Conference in Pittsburgh, Pennsylvania from April 7-9, 2011 is presented. The article mentions that the event was attended by scholars from various countries to share and discuss views on Italian film, culture and literature research. It also featured speakers Marcia Landy of University of Pittsburgh as well as Andrea Bini and Christopher White of University of California, Los Angeles (UCLA).

Despite the proposed privileging of intersections and interconnections between Italian cinema and other national cinemas and art forms, many chose to engage with more traditional facets of Italian film studies. 11 JICMS 8.1 Bonnic 109-113.indd 111 30/11/19 9:30 AM Glen Bonnici www.intellectbooks.com 113 112 Journal of Italian Cinema & Media Studies These papers were accompanied by other film-centric contributions with a more overt transnational outlook. 11 JICMS 8.1 Bonnic 109-113.indd 109 30/11/19 9:30 AM Glen Bonnici www.intellectbooks.com 111 110 Journal of Italian Cinema & Media Studies The conference was opened by the organizers Dr Flavia Laviosa, from Wellesly College, and Prof. Catherine Ramsey-Portolano, from the American University of Rome. [Extracted from the article]

From the farthest north to the deepest south, the cities, towns, and countryside of Italy have provided set locations which show us images of an Italy that is multiform and various. Based on a massive database of more than 5000 Italian-set films from 1988 to 2016, this paper explores the geography of Italian set locations and their related cinematic landscapes. In order to achieve this goal, the study proceeds in two phases. First, the paper identifies the concentrations of set locations (filmogenic spots) overall and by genre in particular areas through spatial analysis tools. Second, it presents a qualitative analysis of the representation of selected locations, underlining the different roles played by the landscape in film narratives. By using an integrated quali-quantitative perspective, the paper offers an analysis that combines the spatial and the representational dimensions of Italian set locations over a wide area for a long period. [ABSTRACT FROM AUTHOR]

Copyright of Etudes Romanes de Brno is the property of Masaryk University, Faculty of Arts and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper aims to place the study of authorship in contemporary Italian cinema within the inherent practices of on-demand culture. Specifically, its objective is to question the author-platform relationship. Starting from here, we can demonstrate how the concept of Auteur— in the sense of commerce of auteurism (Corrigan), prestige economy and Made in Italy (Cucco) and strategic planning of cultural legitimization politics — is, for on-demand streaming services, a fundamental framework in pursuing a structural continuity between old and new forms of media production, promotion and consumption. Despite their «ideology of disruption», which preaches a global revolution of audiovisual practices and identifies a new technological service with a world improving view, on-demand streaming services employ, in their foundational practices, productive, cultural and spectatorship strategies that are already used by traditional studios and net-works. Among these practices, one of the most important is the authorship framework, which use is analyzed here through a theoretical frame defined as «double logic of convergence», where every on-demand authorial action is placed within a spectrum generated by two opposite poles, defined as content and event. To unify factual and theoretical perspective, this paper takes into account Italian authorship within MUBI Italia, localized branch since 2021 of the main streaming service involved in auteur cinema. Specifically, this case study concerns Alice Rohrwacher, whose film Quattro Strade (Four Roads) is not only the first Italian film available exclusively and globally on MUBI, but the perfect ex-ample how on-demand Italian authorship— in its commercial branding and artistic prestige — can serve the cultural politics and the glocal growth of platforms, even within that content/event contradiction which stays ontological to streaming consumption. [ABSTRACT FROM AUTHOR]

The aim of this contribution is to assert the role of didactic audiovisual translation as a helpful tool for enhancing metalinguistic skills in a foreign language classroom in Italy; more precisely, the paper will offer an analysis of how foreign language teachers can introduce their students to the idea of sociolinguistic variation, by observing how lexical and morphosyntactic changes can occur in the translation process from an Italian source text into an English target text and/or vice versa. The following sociolinguistic variables will be examined through the lens of audiovisual translation, applied to a range of text types including films and an opera libretto turned into surtitles in English: (1) diamesic variation, making students reflect on such aspects as coarse expressions and taboo words, in relation to the Australian film Ned Kelly; (2) diachronic variation, exploring the multidisciplinary possibilities offered by opera surtitling with a focus on the opera Falstaff by Giuseppe Verdi; (3) diatopic, diastratic and diaphasic variations, commenting upon some examples from the Italian films Mio cognato (My Brother-In-Law) and L'uomo che comprò la luna (The Man Who Bought the Moon). [ABSTRACT FROM AUTHOR]

Verbal periphrases (VP) constitute a typological feature of Romance languages and they are especially frequent in the Iberoromanic languages. In the context of this paper, the aspectual verbal construction stare a + infinito and the modal VP volere + infinito will be "grasped in the concrete speech action" (Katelhön 2013: 237; my translation) in order to show how these two VPs are used as discourse-structuring elements in contemporary Italian (outline signals, turn-taking markers, hesitation phenomena etc.). Furthermore, formal and functional equivalents of the periphrastic discourse markers it. sta(mmi) a sentire and it. voglio dire will be analyzed in two Romance "sister languages", namely French and Spanish, as well as in a typologically more distant language, namely German. The translation strategies chosen in the respective target languages will be examined with regard to the preservation or modification of pragmatic- discursive values inherent in the source language structure. For the present study, which is exclusively qualitative, the LIP corpus and the OPUS corpus (Tiedemann 2012, Italian), which is a collection of subtitles from a wide range of films in various languages, were used. [ABSTRACT FROM AUTHOR]

In this essay I focus on the actress, Liane Mirette, rare representative of the flapper in Italian silent cinema, where she worked exclusively, mostly at the Company of Arturo Ambrosio in Turin, from 1920 to 1925, accredited in five movies, including La girandola di fuoco (l.t. The Pinwheel of Fire, 1920) and Maschietta (l.t. Flapper, 1921). The latter film that I analyze for the minutes brought to light and digitized by National Film Archive of the Centro Sperimentale di Cinematografia in Rome. In the first part of my paper I focus on the birth and development of the New Woman in the US, with particular attention to the flapper of the Roaring Twenties and the Jazz Age of Francis Scott Fitzgerald, a decisive figure for post-Victorian literature and Hollywood silent cinema, but, perhaps, also for the Italian silent cinema. [ABSTRACT FROM AUTHOR]

This paper offers a review on some Italian movies, from the postwar period to the present, in order to investigate the role of lawyers in the popular culture. The analysis highlights different types of lawyers, different ways of interpreting their role, as well as their relation with the judiciary system. The paper also shows a remarkable difference between the image of lawyering revealed by the Italian cinema and the prevalent one in US movies. [ABSTRACT FROM AUTHOR]

By drawing on primary scholarly literature on the dual career in sport, this article aims to identify the key features and problems concerning the development and implementation of programs promoting school and university education for young footballers. The paper highlights the importance of bridging the gap between professional sport and learning in young footballers by promoting dissemination actions within dual-career programs. To implement these actions, the authors have investigated and examined by comparative, historical, and hermeneutical methodology the role that team manager may play to support programs that, in the context of Italian legislation and regulations, encourage the development of specific skills in young footballers. These skills deal mainly with coping with transitions affecting athlete-students and student-athletes' sports experience and post-career years. The paper will conclude with a list of educational principles to be developed as practical actions to implement dual-career programs for young footballers attending high school or university. [ABSTRACT FROM AUTHOR]

This paper explores how racial slurs are dealt with in Anglo-American films and rendered in films dubbed in Italian. It focuses on the racist epithets 'nigger', 'gook' and 'zipper head' with a view to unveiling the linguistic choices made by Italian audiovisual translators. Furthermore, it supports the claim that taboo topics vary from culture to culture and sheds some light on self-censorship, which has allegedly shifted from sexual and religious topics to ethnic slurs (Allan and Burridge 2006; Hughes 2006). In some cases the analysis reveals a wide spectrum of translation choices accompanied by subtle linguistic manipulations. In other cases translation choices tend to be fixed owing to the limited range of corresponding slurs in Italian. Also, the paper discusses self-censorship in contemporary Anglo-American films. In this regard, it is observed that 'the n-word' has characterized the majority of Anglo-American films since 2000 and has hallmarked a shift in self-censorship. The final question that this paper addresses is whether Italian culture is ready or not for this change. [ABSTRACT FROM AUTHOR]

The essay proposed focuses on the study of the Italian historical and cinema industry context after WWII and during the 1950s. It presents the case study of Luigi Rovere's production and distribution company P.D.C. The paper is divided into two main sections: the first one summarily describes the historical and economic context of Italy and the film industry of the time, with examples of the behaviour of some companies within the industry; the second part focuses on Rovere's firm, giving an idea of how it used to work. The essay will highlight the modes of production and distribution P.D.C. adopted, and also in which way the historical, industrial and economic context and the film market influenced and impacted on the company. [ABSTRACT FROM AUTHOR]

The paper aims to investigate the possibilities for the concept of "political author" as an effect of discourse to survive in contemporary cinema by analysing the case of Italian biopics of the new Millennium. After a proposal of definition of a political authoriality, the analyses of the films attempt to show how the articulation of such an authoriality in three different figures — the director, the actor, and the real model — and in subcategories defines a specific feature of biographical cinema, to eventually conclude with some remarks about the posthumous life of the authorial discourse after the "death of the author", between politics and commitment. [ABSTRACT FROM AUTHOR]

The article focuses on some basic questions related to the field of actors' training in Italy. In order to investigate the various trajectories followed by young actors in their professional apprenticeship, the paper briefly illustrates what is specific to the Italian landscape, which features both a strong tradition in enrolling non-professional actors and a fluid professional interchange between actors who have a stage-oriented training and actors trained in film acting. [ABSTRACT FROM AUTHOR]

On 13rd October 2016 the Chiostergi-Tuscher archive and library, originating from the heirs' house located in France (Saint-Cergues Les Voirons), was transferred to the Centro cooperativo mazziniano "Pensiero e Azione" in Senigallia. The paper reports about how this remarkable heritage of Chiostergi-Tuscher was retrieved and returned to Italy after thirty years. The collection includes correspondences, letters, diaries, documents, journals and papers, pictures, books, posters and other archival and bibliographic materials of great historical value to learn about the political, civic and cultural activities of Giuseppe Chiostergi (1899-1961), anti-fascist, member of the Italian Constituent Assembly and of Parliament, ambassador, pro-European and statesman, friend and correspondent to leading Italian and European personalities in the 20th century. [ABSTRACT FROM AUTHOR]

This paper aims at investigating the intertwining of the aesthetics of film noir and neorealism in the context of Italian cinema after the Second World War. In order to individuate the similarities between these two trends, the article will highlight how both neorealism and film noir partake in the wider discourse of melodrama, and how the melodramatic imagination is key to understanding the relationship of these texts within the issue of modernity. Through a reflection on Gilles Deleuze's category of the 'any-space-whatever', the article will focus on the deployment of postwar spatiality in a series of noir films dealing with the 1950s process of reconstruction. The fragmentation of space these films register and enhance creates a productive tension with the affective intensity of the melodramatic body. The result is a form of spatial anxiety that encompasses both neorealism and film noir, thus highlighting the importance of a transnational frame to the interpretation of Italian cinema on the verge of the economic boom. [ABSTRACT FROM AUTHOR]

In the sixties and seventies, a wide move towards personal participation and bodily involvement involved media discourse and public opinion in a shift towards experimental languages. Several filmmakers in Europe and in the USA began exploring the limits of classical film style, developing what David Bordwell labeled as intensified continuity. In this respect, a highly significant chapter is the so-called Italian giallo, or rather the whole system of cycles (also called filoni, strands) of the crime and police procedural genre that characterized Italian cinema in those years. The Italian crime cinema has left an important legacy, creating true cult phenomena, and we must assume that its importance is to be found also in its formal traits: in its ability to experiment with the forms and expressions of the new sensibility. The exemplary case study of my paper will be the cult title Don't Torture a Duckling (Lucio Fulci, 1972), as a typical by-product of the late sixties and seventies' anxiety to provoke and explore new languages, where many 'fear-relevant' conventions and genre markers were almost savagely exploited in a controversial but influential production formula and as an 'emotionalized' tactic of involvement. [ABSTRACT FROM AUTHOR]

This paper reports on a study of reporting verbs in the Harry Potter series and their translation in Italian. It offers quantitative and qualitative perspectives on how the English verbs have been translated by two Italian translators, who worked on different books of the series. This study first analyses verb usage across the three protagonists of the series (Harry, Ron, and Hermione) in English and Italian; then, it employs Caldas-Coulthard's (1987) taxonomy of reporting verbs and compares verb categories between source and target texts to identify tendencies in the translation of this textual feature. It finally discusses the stylistic implications of translation alterations and their potential effect on character development. As such, this paper contributes not only to the limited literature on reporting verbs in translation (especially in Italian), but it also furthers the understanding of the role of reporting verbs as a characterisation device. [ABSTRACT FROM AUTHOR]

Copyright of Fluminensia is the property of Fluminensia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Revista Alea: Estudos Neolatinos is the property of Programa da Pos-Graduacao em Letras Neolatinas Fac de Letras - UFRJ and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Retranslation has received far less attention in the audiovisual translation field than in the literary domain, where it is deemed a positive phenomenon. Within the audiovisual field, retranslation tends to be either negatively received or overlooked. While some research over the past decade has focused on redubbing, resubtitling (i.e. comparing two or more sets of subtitles of the same source text, dating back to different periods) has long remained neglected from a retranslation perspective. The present paper aims to address the issue of retranslation using the case study of two Italian films distributed in the UK as an empirical basis: Vittorio De Sica's Ladri di Biciclette (Bicycle Thieves) and Federico Fellini's La Strada. Two sets of English subtitles produced for each film, 43 years apart on average, are compared according to a two-level analytical framework, technical and translational. The study shows that, although major improvements can be observed on a technical level, the more modern retranslations seem to depart further from the original dialogue than the older subtitles. Therefore, the notion of 'retranslation as improvement' and the retranslation hypothesis are questioned. [ABSTRACT FROM AUTHOR]

In recent decades, cinema has increasingly included and depicted multilingual realities (Heiss 2014). Starting from a discussion of multilingualism and its main functions on screen, this paper focuses on two multilingual films of recent production and of different genres - the drama Lion (Gareth Davis 2016) and the comedy Demain tout commence (Hugo Gélin 2016) in order to analyse the transfer operations (Zabalbeascoa and Voellmer 2014) found in the Italian dubbed versions. The aim of the study is to investigate how multilingual discourse is dealt with in the translated versions and to consider the implications of different translation strategies in terms of character portrayal and film genre. [ABSTRACT FROM AUTHOR]

Copyright of Enthymema is the property of Enthymema, International Journal of Literary Criticism, Literary Theory & Philosophy of Literature and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper examines naming variation in several Italian translations of Erich Kastner's novel Das doppelte Lottchen. Starting from the analysis of proper names and naming processes in Kästner's book, this study aims to show how the onomastic dissimilarity occurring in its different Italian versions has to do not only with the ever shifting translation methods and techniques in the way of adapting names to the target culture, but mostly with the constantly renewed critical (and editorial) approach to the novel over the years. [ABSTRACT FROM AUTHOR]

Copyright of Italica Wratislaviensia is the property of Wydawnictwo Adam Marszalek and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This issue of the 'Archival Notes' column describes two richly intertwined archival collections, one personal and one institutional. Both are held at the Museo Nazionale del Cinema in Turin (MNC, Italy) and house documents pertaining to the activities of MNC's founder and film historian Maria Adriana Prolo (1908–91). The column provides a brief personal profile, details her personal and professional challenges – which led her to compare notes with Henri Langlois of the Cinémathèque française – and sheds light on the plans, accomplishments and never-realized projects of Italy's first (and for decades only) woman film museum director. [ABSTRACT FROM AUTHOR]

This article analyses the connection between Italian and Colombian cinema through the novels and films of Colombian author and filmmaker Fernando Vallejo (1942–present). It examines Vallejo's autofictional novel, Los caminos a Roma (The Roads to Rome) (1988) where he recounts his experience as a student at Rome's Centro Sperimentale di Cinematografia in 1966, criticizes Italian neorealism and auteurism, and articulates his embryonic idea to create a film set during Colombia's civil war. In his critique of Italian cinema, I argue that Vallejo embodies a certain hostility towards European film, its institutions and especially Italian neorealism that was percolating in the Latin America of the 1960s and 1970s. Exploring the historiography of Italy's relationship with Latin American cinema, I remark on an emergent (and problematic) privileging of Italian neorealism as a prototype for New Latin American Cinema (NLAC) and consider how Vallejo's filmmaking was shaped in opposition to Italian archetypes. [ABSTRACT FROM AUTHOR]

This article examines the relationship between Italian cinema, fashion, and the construction of a new national image in the postwar period. It focuses on fashion films from the Settimana INCOM newsreels, analyzing how Italian fashion was portrayed and filmed. The article also explores the transatlantic exchanges that influenced Italy's political, economic, and cultural trajectory after World War II. It highlights the role of fashion and film in Italy's reconstruction and the promotion of a new Italian identity. The article discusses the significance of fashion in the INCOM newsreels and its impact on Italy's moral and economic rehabilitation. It emphasizes the role of fashion as a manufacturing industry and a platform for cultural and political diplomacy between Italy and the United States. The newsreels showcased Italian fashion and its emergence in the country's new consumer society, featuring American ambassadors, actors, and fashion reports. Fashion figures like Micol Fontana and Giovanni Battista Giorgini acted as cultural mediators, promoting Italian style and contributing to Italy's rehabilitation and rebirth. The article also explores the role of the magazine La Settimana INCOM Illustrata in shaping Italian identity and documenting the nation's progress after World War II. It covers topics such as fashion, etiquette, and the relationship between Italy and the US. The article highlights the importance of fashion in postwar Italy and its connection to the concept of "Made in Italy." It emphasizes the role of fashion as a form of soft power and its intersection with cinema and media. [Extracted from the article]

Over the last two decades, Italian cinema has turned its gaze towards the Mediterranean Sea to dismantle the narratives constructed by populist political parties and mainstream European media, which have emphasized the rhetoric of border protection, security and legality through the systematic depersonalization of migrants. Film counter-narratives to this have been effectively developed, and cinema has responded to the materiality and fixity of migrants' bodies by composing stories in which these migrants recover their sociopolitical agency. This article provides a close analysis of the characterization in Emanuele Crialese's Terraferma (2011) and Gianfranco Rosi's Fuocoammare (Fire at Sea) (2016) in relation to technical and stylistic forms of filmic representation. Particular attention is paid to the correlation between the aesthetic level of the films and the social dimension of the characters, which is primarily expressed through framing in which the migrant occupies the central position, establishing a dialectical relationship with the other characters and their social space. [ABSTRACT FROM AUTHOR]

The article examines cinematic portrayals of immigrant integration in Naples, Italy particularly through documentaries. It emphasizes the complexity of the integration process, exploring emotional dimensions and challenges faced by immigrants in a dynamic societal landscape. It highlights the role of select films in capturing diverse narratives, shedding light on the struggles and cultural clashes experienced by migrants.

Film remakes represent a form of cinematic translation that reconstructs various elements of the original text. This article relies on the translation strategies of domestication and foreignization to analyze "Āṣḥāb Wālā Āʿāz", the Arabic remake of the Italian film "Perfetti Sconosciuti" or "Perfect Strangers". This study shows that the Arabic remake, which sparked controversy across the Middle East, replicates many of the syntactic elements of the original film, such as the narrative and the plot structure, as well as cinematographic and paralinguistic elements. Still, it attempts to adopt a transformative approach in order to generate a cultural production. The result shows that the use of domestication in film remakes alters the rhetorical effect of the original version and that, although foreignization may promote an audience's interest in foreign cultures, it may contribute to the reproduction of otherness due to the dissatisfaction of the targeted audiences. [ABSTRACT FROM AUTHOR]

An introduction is presented in which the editor discusses various reports within the issue on topics including Italian screen studies (ISS), the disciplinary boundaries and status of ISS, and concerns on the future of ISS and Italian cinema.

The article offers information of the international conference "Bach and Italy" which took place in a digital format from 22 to 28 November 2020. Topiscd discussed include the Covid-19 situation led us to consider various options for restructuring an event that had originally been planned in a traditional form; and decided to broadcast the conference on our social media channels, to make it available at no charge, and to maintain an archive of all videos.

This article discusses the lone outlier associated with the cannibal boom of European exploitation films in the 1970s and 1980s – with the main point of diversion being that Sisworo Gautama Putra's film is an Indonesian production rather than the typical Italian fare. Being an Asian film that emulates the traditionally European style of cannibal film, Primitives opens a larger discussion about the role of the theoretical savage and the implications thereof, put in place by ghosts of imperialism and cinematic mimicry. The author explores these concepts with psychoanalytic input, opting to unpack the rationality behind an Indonesian film following the same imperialist notions utilized by the preceding Italian directors, which ultimately results in a subdivision of the artificial–natural dichotomy: the meta-natural. [ABSTRACT FROM AUTHOR]

This essay considers the intersecting development of two projects focused on fishing communities in the myth-charged landscapes of the Italian South: Luchino Visconti’s 1948 film La terra trema, located in Aci Trezza in Sicily; and a series of paintings by Renato Guttuso, produced over two successive summers (1949–1950) in the Calabrian village of Scilla. Both projects are products of the Communist milieu of the postwar decade, though each also has origins in the antifascist culture of the early 1940s. These works are examined as examples of how the left sought to engage with the Italian nation and its past after Fascism, which had sought to appropriate both. The focus on the South draws attention to the fragmentary nature of the Italian national body, and the detemporalising perspective adopted by both practitioners foregrounds the dislocation of this region from the history of the nation state. By articulating the everyday struggles of these communities in the mythic register associated with their surroundings, these works give rise to tensions between social engagement and nostalgia. As well as addressing questions of continuity and change between fascist and post-fascist cultures, this paper examines the works under consideration in light of the rapidly changing social and political circumstances of postwar Italy. [ABSTRACT FROM AUTHOR]

Italian horror cinema is commonly divided into two periods and genres. An initial classical Gothic period spanned the years from 1956 to 1966 and was followed by a modern giallo (thriller) period from 1970 to 1982. Whilst accepting this broad distinction, this paper seeks to add nuance by considering the hybrid elements of three key films by three of the most important directors working in the giallo and horror area, namely Riccardo Freda with I Vampiri (1956), Mario Bava with The Girl Who knew too Much (1963) and Dario Argento with Deep red (1975). drawing in particular upon Nöel Carroll's idea of "fearing fictions", I contend that Freda's film, the first Italian horror movie since the silent era, is notable for being a distinctively modern vampire film; that Bava's film, a foundational giallo, may be seen as having a palimpsest in Jane Austen's Gothic parody Northanger abbey; and that Argento's film, while often taken as the paradigmatic giallo, has supernatural horror elements that push it in the direction of the Gothic. [ABSTRACT FROM AUTHOR]

This article analyzes the two films of the Taviani brothers through which the Tuscan directors have narrated the early 20th century Italian diaspora in the United States: the first episode of Kaos, the 1984 film based partly on Pirandello’s Novelle per un anno, and the 1987 film Good morning, Babylon. Besides analyzing various sequences of the films, especially those related to the departure, arrival and pursuit of the American dream, in this paper I explain how both films aimed not only to recall the relevance of a social-historical phenomenon such as the great migration, but also by reflecting on the present and the future, the films force us to focus on the drama of those who today are forced to leave their homeland in search of a better future. [ABSTRACT FROM AUTHOR]

Why rescue from oblivion the two works La fragua (1912) and El vértigo (1919) by the well-known Argentine playwright Armando Discépolo? The answer has to do with the point of view that in them, the tano, a new kind of personality, occupies a central stage in the dramatic conflicts that unfold. The perspective adopted in this paper will highlight: 1. the restorative function implied in the ideological structure that governs the representation of these foreign characters; 2. their dialogue with the stereotypes of the Italian bomber/drunkard and the gringa prostituta, terms used since the end of the century by the ruling elites to criminalize the foreigner; and 3. the high testimonial value of both works whose plots are deeply anchored in the immediate socio-political conjuncture. [ABSTRACT FROM AUTHOR]

The article offers information on the workshop "Narration Migration" held at the Monash University Centre in Prato, Italy from September 17 to 18, 2010. It states that the aim of the program is to search on issues how migrants are represented in Italian medium, cinema and literature. It mentions that the highlight of the conference is the screening of the award winning documentary "Giallo a Milano" (2009) and question and answer session with director Sergio Basso and sociologists Daniele Cologna.

This paper explores the transnational industry of migrant cinema. It particularly addresses the production and 'guerrilla film-making' of this genre in Italy, whilst analysing the effects of cultural policies on productions and representation. After defining the genre of migrant cinema—or 'accented cinema', as Hamid Naficy terms it—by positioning it within the wider theoretical framework of Third Cinema, I concentrate on aspects of representation and diversity, identity and cultural participation. I focus on the means of production and distribution as they have expanded in a transnational strategy of international co-productions beyond post-colonial communication and cooperation flows, and within new dynamics created by digital technology. [ABSTRACT FROM AUTHOR]

This paper examines two silent feature films of Hamlet —one English, one Italian. Hepworth and Plumb's film starring Sir Johnston Forbes-Robertson was made in 1913 for Gaumont. Rodolfi's film starring Ruggero Ruggeri was made in 1917 for Rodolfi-Film. Both actors had already been celebrated for their stage Hamlets and the films are inscribed in markedly different ways with the legacy of those earlier stage productions. As part of considering this legacy, I examine the relationship of each actor to the Shakespearean words necessarily excised from the filmic performance and of each to a set of inherited pantomimic performance codes. The English film is more widely known, exhibited, and discussed than the Italian film. In this paper I suggest that its network of extra-textual associations (theatrical, English socially prestigious) may have proved as beguiling as its particular filmic attributes. I use a comparison of the divergent critical fates of these films as the spur to discussing the marketing, profile, and trends of critical reception for material that equivocates tellingly about its intended market and medium allegiances. [ABSTRACT FROM AUTHOR]

"Italian Americans on Screen: Challenging the Past, Re-Theorizing the Future" is a scholarly book that explores the field of Italian American studies. The editors aim to update and challenge existing ideas in the field, moving beyond narrow understandings of Italian Americanness. The book covers a range of topics, including ethnic authenticity, food commodification, and the representation of Italian and Italian American stereotypes in film and television. It also examines the role of Italian newspapers and movie theaters in shaping cultural identity. The editors encourage readers to reconsider and re-theorize the field of Italian American studies. [Extracted from the article]

Michele Placido's Pummarò (1990) and Carmine Amoroso's Cover Boy (2006) bring the legal, economic, and social precarity of West African and East European migrants in Italy to the screen. This article examines, firstly, how subjects who come from the Global South, or who are marked as such, are framed in their precarity from a Eurocentric perspective and, secondly, how they exercise agency and break free of the colonial, racializing, gender-critical, or classist frames imposed on them. The 'illegitimate art' of photography is suited to reflect this two-sided process of precarization and empowerment because it is accessible to diverse social classes. This heterogeneous plurality that produces, mediates, and receives photographs also determines an intersection of gazes that emerge from divergent positionings before and behind the camera. To bridge professional with amateur approaches, my performative analysis combines Philippe Dubois' artistic concept of the 'photographic act' with Ariella Azoulay's critique to reconsider the contingent and civil potentiality of photography by reimagining the 'event of photography'. A media-critical relation between photography and film ultimately reveals this interplay of gazes to be a meta-aesthetic gesture by the observing medium of film, which self-critically interrogates its own cinematographic modes of representing precarious subjects. [ABSTRACT FROM AUTHOR]

Focusing on two teenagers grappling with the difficult reality of Naples, Agostino Ferrente's Selfie (2019) is a powerful depiction of an entire community at a significant time, when limited perspectives and the pervasive presence of organized crime – with a value system that is intrinsic to the Camorra – deeply influence the present and the future of a generation. Shot by two 16-year-old boys from the Traiano district (Naples), the film is a powerful example of how self-representation can be a strategic and political tool to immerse in a life and its context. Within the framework of studies on first-person filmmaking and self-representation, and mobilizing concepts from the theory of mobile films, this article argues that, through the filming carried out by the two teenagers, Selfie is able to offer us a wider glimpse of a generation, of its everyday life and imagination, and of its perception of the contemporary media imaginary. I argue that, by employing a reflexive mode of documentary and the linguistic forms of the photographic selfie, the film engages the spectator in an intimate flow of images, questioning authorial instances, the relationship of the iGeneration with filming devices, and the different approaches and aesthetic choices that form the basis of every representation of reality. [ABSTRACT FROM AUTHOR]

The Battle of Algiers (1966) is often considered one of the most important films in the history of cinema produced during the 1960s as well as a quintessential anticolonial film. This article analyzes the making of Gillo Pontecorvo's film and the cultural and political conditions that made The Battle of Algiers possible. It focuses on the interactions between Italy and Algeria in the 1950s and 1960s, other projects dealing with the Algerian war, and subsequent Algerian-Italian films produced as a consequence of the successful industrial model used for The Battle of Algiers. [ABSTRACT FROM AUTHOR]